Parker Ramsay has forged a career that defies classification. Whether premiering, rediscovering, or transcribing, he dedicates himself to expanding the harp’s repertoire, bringing the instrument to conversations — and audiences — it had never before known.  He has given solo performances at Alice Tully Hall, the Miller Theatre at Columbia University, The 92nd Street Y, the Frick Collection, the Phillips Collection, the Morgan Library, Salle Bourgie, Cal Performances, Shriver Hall, King’s College, Cambridge, the Spoleto Festival USA, and the Center for the Art of Performance at UCLA.   

A fierce advocate for new harp music, he regularly premieres pieces that explore the frontiers of his instrument’s capabilities. In May 2025, he debuted at New York City’s 92nd Street Y with a slate of works written in his name: the world premiere of Aida Shirazi’s A Dream Within a Dream for harp, voice, and live electronics; Marcos Balter’s Omolu, commissioned in 2021 by Columbia University’s Miller Theatre for their podcast series Mission: Commission; and Artun Çekem’s 2024 HARP (Haptic-Adaptive Remembrance Processor), which harnesses a custom touch-based interface to synthesize its operator’s live input in real time. In the 2024-25 season, he made debuts at Utrecht’s Gaudeamus Festival with Lucy McKnight’s when i am among the trees and in Dublin with a new evening-length harp-and-voice work by Connor Way and Iarla Ó Lionáird; and at Montreal’s Salle Bourgie with the Quatuor Van Kuijk. In 2023, Ramsay made his Paris debut with Josh Levine’s Anyway, the culmination of a yearlong residency at IRCAM. In April 2025, he chronicled his commissioning efforts in a guest essay for The New York Times.